bill kilpatrick wrote: >--- Garry Bryan <[EMAIL PROTECTED]> wrote: > > > >>Well, not exactly. The one thing you still have yet >>to get past is: >>The Charango , with its 5 courses, cannot play the >>repertoire written in >>the early to mid 16th century for a 6 course >>Vihuela de mano without >>omitting one of the strings. >> >> > >do you mean to infer that repertoire is the deciding >factor? >
No. I'm saying that repertoire is a filter: "Can the repertoire of the vihuela de mano be played on a 5c charango with no omission of notes?" . It's either yes or no. In this case it's "No". It's not important that the Charango may be a variant/descendant of the vihuela de mano.The charango is not the vihuela de mano for which the 16th century repertoire was written. That's all that's important in the context of this list. Gonzalo de Guerrero may have said, "and thus i made...a small vihuela from the shell of a creepy crawly..." , but I don't recall that I've read anything where he says, " ...and then I taught them to play on it several Pavanas and Fantasias by Milan ". Go beat up the renaissance guitar people. You're one course up on them >:) > > > >a trifle heavy for wit, perhaps but halfway there. > > Subtle. Very subtle >:)) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
